{"id":46994,"date":"2024-08-28T07:50:04","date_gmt":"2024-08-28T05:50:04","guid":{"rendered":"http:\/\/03f7f7ff-953f-4dd7-a3bf-21a4f3a91997"},"modified":"2024-08-28T08:07:21","modified_gmt":"2024-08-28T06:07:21","slug":"these-11-shakespeare-plays-have-inspired-some-of-the-greatest-music-ever-written","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/these-11-shakespeare-plays-have-inspired-some-of-the-greatest-music-ever-written\/","title":{"rendered":"These 11 Shakespeare plays have inspired some of the greatest music ever written"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By <\/p><p class=\"rssbyline\">Published: Wednesday, 28 August 2024 at 05:50 AM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p>Classical music inspired by Shakespeare? Now, this is going to be fun. It is thanks to Shakespeare that we have one of the most famous ever quotes about music. As <em>Twelfth Night<\/em> opens, Duke Orsino speaks the words that are familiar to millions of us: \u2018If music be the food of love, play on\u2019.<\/p><p>Shakespeare\u2019s plays are awash with music. His characters make reference to music; singers and dancers regularly accompany the action on stage; and the Bard\u2019s words themselves flow melodiously.<\/p><p>Unsurprisingly, then, composers for centuries have in turn been inspired by Shakespeare\u2019s plays. Tragedies, comedies and histories have alike found themselves entering the repertoire, represented in all manner of ways: from <a href=\"https:\/\/www.classical-music.com\/features\/composers\/henry-purcell\"><strong>Purcell<\/strong><\/a>, writing in the same century that Shakespeare died, to <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/thomas-ades\">Thomas Ad\u00e8s<\/a><\/strong> in the present day; from Nordic types such as <a href=\"https:\/\/www.classical-music.com\/features\/composers\/jean-sibelius\"><strong>Sibelius<\/strong><\/a> and Stenhammar to those masters of Italian opera, Rossini and Verdi; from the briefest <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-overture\">overtures<\/a><\/strong> to grand operas.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Mendelssohn: A Midsummer Night's Dream, Incidental Music, Op. 61, MWV M 13 - No. 1 Scherzo\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/TMOQS39uRDA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h2 class=\"wp-block-heading\" id=\"h-operas-ballets-overtures-and-much-more\">Operas, ballets, overtures and much more<\/h2><p>We&#8217;re taking a look at the plays that, above all, have inspired masterpieces and not-so-masterpieces. Operas, ballets, overtures, incidental music, tone poems, choral works and songs are all there (though, with apologies to <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/walton-william\">William Walton<\/a><\/strong> fans in particular, we have largely left out Shakespearean film scores \u2013 that\u2019s a subject for another occasion.)<\/p><p>Keen Shakespeareans will, of course, know that Duke Orsino\u2019s quote continues \u2018Give me excess of it that, surfeiting, The appetite may sicken, and so die.\u2019 But surely, when it comes to Bard-inspired music, there can be no such thing as an \u2018excess\u2019. And so, play on\u2026<\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/article\/10-impossible-classical-masterpieces\"><strong>10 impossible classical masterpieces<\/strong><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"h-contents\">Contents<\/h2><ul><li><em><strong><a href=\"#romeo\">Romeo and Juliet<\/a><\/strong><\/em><\/li><\/ul><ul><li><em><strong><a href=\"#hamlet\">Hamlet<\/a><\/strong><\/em><\/li><\/ul><ul><li><strong><em><a href=\"#macbeth\">Macbeth<\/a><\/em><\/strong><\/li><\/ul><ul><li><strong><em><a href=\"#othello\">Othello<\/a><\/em><\/strong><\/li><\/ul><ul><li><strong><em><a href=\"#windsor\">The Merry Wives of Windsor<\/a><\/em><\/strong><\/li><\/ul><ul><li><strong><em><a href=\"#Henry\">Henry IV, Parts I and II<\/a><\/em><\/strong><\/li><\/ul><ul><li><strong><em><a href=\"#Midsummer\">A Midsummer Night&#8217;s Dream<\/a><\/em><\/strong><\/li><\/ul><ul><li><strong><em><a href=\"#Tempest\">The Tempest<\/a><\/em><\/strong><\/li><\/ul><ul><li><strong><em><a href=\"#MuchAdo\">Much Ado About Nothing<\/a><\/em><\/strong><\/li><\/ul><ul><li><strong><em><a href=\"#Lear\">King Lear<\/a><\/em><\/strong><\/li><\/ul><ul><li><strong><em><a href=\"#Merchant\">The Merchant of Venice<\/a><\/em><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"romeo\">Classical music inspired by Shakespeare: <em><strong>Romeo and Juliet<\/strong><\/em> <\/h2><h3 class=\"wp-block-heading\" id=\"h-romeo-and-juliet-the-play\"><em>Romeo and Juliet<\/em>: the play<\/h3><p>When Romeo and Juliet meet, they fall instantly in love. The catch is that their families, the Montagues and the Capulets, are sworn enemies, so they marry in secret with the help of Friar Laurence. Matters are complicated further when Romeo kills Tybalt, Juliet\u2019s cousin, in revenge for the murder of his friend Mercutio, and is exiled from Verona. <\/p><p>Friar Laurence prepares a sleeping potion to put Juliet in a death-like coma so that Romeo can return and the pair can escape. But the message never reaches him and, believing Juliet to be truly dead, he kills himself. Juliet wakes to find him dead and so kills herself too.<\/p><h3 class=\"wp-block-heading\" id=\"h-romeo-and-juliet-in-music\"><em>Romeo and Juliet<\/em> in music<\/h3><p>This tragic love story has inspired some truly great music, along with its share of less successful pieces. One of the earliest settings is a singspiel by the Czech composer Georg Benda, whose 1776 <em>Romeo und Julie<\/em>, loosely based on the play, was one of his most popular pieces. In keeping with operatic tradition at the time, his version ends happily, and he isn\u2019t the only composer to experiment with the plot.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Erminie Blondel, Romeo und Julie (Benda)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/qIDp94RVLLw?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p>When <a href=\"https:\/\/www.classical-music.com\/features\/composers\/sergey-prokofiev\"><strong>Prokofiev<\/strong><\/a> decided to write music for a <em>Romeo and Juliet<\/em> ballet in 1936, he also thought it would be better if the lovers didn\u2019t die. Stalin, however, had other thoughts and Prokofiev had to stick to Shakespeare\u2019s ending. This bold, colourful score, which you can also hear in three concert suites, offers some of his best music, from the menacing \u2018Dance of the Knights\u2019 (known to all fans of TV show <em>The Apprentice<\/em>) to the rapturous love music for Romeo and Juliet themselves. <\/p><p>Constant Lambert also wrote a <em>Romeo and Juliet<\/em>-inspired ballet, in 1926, with a double-layered scenario setting Shakespeare\u2019s play within a dance rehearsal. Premiered by Diaghilev\u2019s Ballets Russes, the score is lively and bright, in the mould of <a href=\"https:\/\/www.classical-music.com\/features\/composers\/erik-satie\"><strong>Satie<\/strong><\/a>, <a href=\"https:\/\/www.classical-music.com\/features\/composers\/francis-poulenc\"><strong>Poulenc<\/strong><\/a> and Milhaud.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Prokofiev: Romeo and Juliet, No 13 Dance of the Knights (Valery Gergiev, LSO)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/Z_hOR50u7ek?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-romeo-and-juliet-at-the-opera\"><em>Romeo and Juliet<\/em> at the opera<\/h3><p>In the opera house, <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/charles-gounod\">Charles Gounod<\/a><\/strong>\u2019s 1867 <em>Rom\u00e9o et Juliette<\/em> is perhaps the most enduring work, with Juliette\u2019s sparkling waltz song \u2018Je veux vivre\u2019 as its highlight. The 19th-century craze for Shakespeare also saw <a href=\"http:\/\/www.classical-music.com\/topic\/vincenzo-bellini\"><strong>Vincenzo Bellini<\/strong><\/a> and Nicola Vaccai take on the tale. Vaccai\u2019s 1825 <em>Giulietta e Romeo<\/em> is now all but forgotten, but Bellini\u2019s 1830 bel canto opera <em>I Capuleti e i Montecchi<\/em> is still a hit today, even if its plot might be more <em>Romeo and Juliet<\/em> fan fiction than faithful setting. <\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/article\/six-best-musical-scores-theatre\"><strong>Six of the best musical scores for theatre<\/strong><\/a><\/li><\/ul><p>Later operas exploring the star-cross\u2019d lovers include those by Harry Rowe Shelley (1901), <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/frederick-delius\">Delius<\/a><\/strong> (loosely, in his 1901 <em>Village Romeo and Juliet<\/em>), John Edmund Barkworth (1916, who attempted to set Shakespeare word for word), Heinrich Sutermeister (1940) and Gian Francesco Malipiero (1950). But perhaps the most famous <em>Romeo and Juliet<\/em>-inspired score of the 20th century is <em>West Side Story<\/em>, the musical that features some of <a href=\"https:\/\/www.classical-music.com\/features\/composers\/leonard-bernstein\"><strong>Leonard Bernstein<\/strong><\/a>\u2019s most brilliant music.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Bernstein : Symphonic Dances from West Side Story\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/srb2EyvTSGw?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p>Balakirev inspired <a href=\"https:\/\/www.classical-music.com\/topic\/pyotr-ilyich-tchaikovsky\"><strong>Tchaikovsky<\/strong><\/a> to write a <em>Fantasy-Overture on Romeo and Juliet<\/em>, modelled after the older composer\u2019s own <em>King Lear Overture<\/em>, but the taut drama and passionate outpourings of the final piece are all Tchaikovsky\u2019s own. A Shakespeare fanatic, Berlioz went one step further and wrote a whole <em>Romeo et Juliette<\/em> choral symphony.<\/p><p>The work was inspired by the play\u2019s \u2018raging vendettas, the desperate kisses, the frantic strife of life and death\u2019. The <em>Romeo and Juliet<\/em> operas by Daniel Steibelt (1793) and Bellini also inspired Berlioz, along with <a href=\"https:\/\/www.classical-music.com\/features\/composers\/ludwig-van-beethoven\"><strong>Beethoven<\/strong><\/a>\u2019s <em>Choral<\/em> Symphony, resulting in one of his most original works. Stenhammar, Kabalevsky and Svendsen also wrote orchestral music based on <em>Romeo and Juliet<\/em>, all of which is worth exploring. <\/p><ul><li><a href=\"http:\/\/www.classical-music.com\/article\/10-best-films-made-about-composers\"><strong>Five stunning films about composers you must see&#8230; and three to avoid<\/strong><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"hamlet\">Classical music inspired by Shakespeare: <em><strong>Hamlet<\/strong><\/em><\/h2><h3 class=\"wp-block-heading\" id=\"h-hamlet-the-play\"><em>Hamlet<\/em>: the play<\/h3><p>Hamlet learns his father was murdered when his ghost appears in Elsinore castle. Swearing revenge on his uncle Claudius, the murderer, Hamlet presents a play to the court in which the play-King is murdered. Claudius runs guiltily from the room and Hamlet later tries to kill him, but instead stabs Polonius, father of Ophelia, with whom Hamlet is in love.<\/p><p>Ophelia goes mad with grief and drowns. As Ophelia\u2019s family plots to kill Hamlet, the body count rises \u2013 a poisoned swordfight results in the deaths of Laertes, Claudius and Hamlet himself, and Gertrude drinks poison intended for him. As the King of Norway arrives at Elsinore, the whole Danish royal family lies dead.<\/p><h3 class=\"wp-block-heading\" id=\"h-hamlet-in-music\"><em>Hamlet<\/em> in music<\/h3><p>Shakespeare\u2019s longest play provoked \u2018Ophelia mania\u2019 across Europe after an astonishing performance in Paris in 1827 that starred Shakespearean actress Harriet Smithson as Ophelia, and inspired a wealth of music. <a href=\"http:\/\/www.classical-music.com\/topic\/hector-berlioz\"><strong>Berlioz<\/strong><\/a>\u2019s infatuation with Smithson most famously led to his lovesick, opium-fuelled <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/love-story-behind-berliozs-symphonie-fantastique\">Symphonie fantastique<\/a><\/strong><\/em>, but her performance also inspired <em>Tristia<\/em>: three songs for choir and orchestra depicting the deaths of Ophelia and Hamlet.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/best-recordings-berliozs-symphonie-fantastique\">The best recordings of Berlioz&#8217;s <em>Symphonie fantastique<\/em><\/a><\/strong><\/li><\/ul><p>In fact, Ophelia\u2019s plight is the focus of many musical settings. In the play her madness is highlighted by ever-stranger on-stage singing, a gift to composers. Some, such as <a href=\"https:\/\/www.classical-music.com\/topic\/johannes-brahms\"><strong>Brahms<\/strong><\/a>\u2019s unaccompanied <em>Ophelia Lieder<\/em>, even use Shakespeare\u2019s original song texts, although Shostakovich\u2019s <em>Song of Ophelia, <\/em>which sets a poem by Alexandr Blok, is equally haunting.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Brahms - 5 Ophelia-Lieder: No. 1. Wie erkenn ich dein Treulieb\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/SeYHIG3YfTc?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-hamlet-liszt-and-the-russians\"><em>Hamlet<\/em>: Liszt and the Russians<\/h3><p>Shakespeare\u2019s ultimate tragic hero does have musical homages of his own, meanwhile. <a href=\"https:\/\/www.classical-music.com\/features\/composers\/franz-liszt\"><strong>Liszt<\/strong><\/a>\u2019s eponymous symphonic poem is a whirlwind examination of character through Hamlet\u2019s turbulent emotions \u2013 here, there is just a hint of Ophelia, though she has little chance to calm the impetuous Prince.<\/p><h4 class=\"wp-block-heading\" id=\"h-is-it-really-possible-to-express-in-music-the-tragedy-of-hamlet\">&#8216;Is it really possible to express in music the tragedy of <em>Hamlet<\/em>?&#8217;<\/h4><p>When Tchaikovsky was asked, in 1888, to compose incidental music for a stage production of <em>Hamlet<\/em>, he was hesitant. \u2018Is it really possible to express in music the profundity of the tragedy and the very persona of the Prince of Denmark?\u2019 he wrote to his brother Modest. <\/p><p>His first attempt became an Overture-Fantasia, which was premiered to great success alongside his Fifth Symphony. However, in another attempt he simply borrowed music from previous compositions, leading to an unlikely combination of <em>Hamlet<\/em> and <em>The Snow Queen<\/em>.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Tchaikovsky Hamlet Overture, London Symphony Orchestra, Valery Gergiev Proms 2007 1\/2\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/JyH1B8ONJfM?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><ul><li><a href=\"https:\/\/www.classical-music.com\/article\/six-best-musical-scores-theatre\"><strong>Six of the best musical settings of Shakespeare&#8217;s Romeo and Juliet<\/strong><\/a><\/li><\/ul><p><a href=\"https:\/\/www.classical-music.com\/topic\/dmitri-shostakovich\"><strong>Shostakovich<\/strong><\/a> also wrote incidental music, for a satirical 1930s production that was quickly shut down after scandalising Stalinists. His brash score is all that remains of this strange version of <em>Hamlet,<\/em> in which the characters are played as drunk, rather than mad. <\/p><p>Staying with the Russians, Prokofiev wrote incidental music for <em>Hamlet<\/em> just a year after his hugely successful <em>Romeo and Juliet<\/em>. Keen to attempt another Shakespearian tragedy, he had hopes to transform his music into an opera, but nothing came of it. <\/p><h3 class=\"wp-block-heading\" id=\"h-a-hamlet-opera\">A <em>Hamlet<\/em> opera<\/h3><p>In fact, only one notable operatic version of <em>Hamlet<\/em> exists, penned in 1868 by French composer Ambroise Thomas. Based on a translation by Alexandre Dumas, who believed Shakespeare\u2019s original ending was \u2018most unpleasant\u2019, Hamlet is miraculously restored from his deathbed by the ghost and leads his people into a hopeful future. <\/p><p>Thomas wrote an \u2018alternative\u2019 final scene with a dead Hamlet for the Covent Garden premiere, as he was advised that the English wouldn\u2019t stand for such a violation of Shakespeare\u2019s original masterpiece. <\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/article\/12-best-imaginary-composers\"><strong>12 of the best imaginary composers<\/strong><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"macbeth\">Classical music inspired by Shakespeare: <em><strong>Macbeth<\/strong><\/em><\/h2><h3 class=\"wp-block-heading\" id=\"h-macbeth-the-play\"><em>Macbeth<\/em>: the play<\/h3><p>Shakespeare\u2019s shortest tragedy is also one of his goriest. When the Three Witches foretell that he will become King of Scotland, Macbeth becomes consumed with ambition to make that happen as soon as possible, goaded on by the odious Lady Macbeth. <\/p><p>The reigning king, Duncan, is the first to be dispatched by him, beginning a trail of slaughter that, driven by his increasing paranoia over the ambiguity of the witches\u2019 prophesies, goes on to include his friend Banquo and the family of Macduff, Thane of Fife. Macduff himself, however, is still at large and, accompanied by Duncan\u2019s son Malcolm, wreaks bloody revenge.<\/p><h3 class=\"wp-block-heading\" id=\"h-musical-settings-of-macbeth\">Musical settings of <em>Macbeth<\/em><\/h3><p><a href=\"https:\/\/www.classical-music.com\/topic\/giuseppe-verdi\"><strong>Verdi<\/strong><\/a> had unbounded admiration for Shakespeare, whom he described as \u2018above all dramatists, the Greeks not excepted\u2019. <em>Macbeth<\/em>, which he told his librettist Francesco Maria Piave was \u2018one of mankind\u2019s grandest creations\u2019, was the first of the playwright\u2019s works to inspire an opera from him \u2013 the plot\u2019s rich concoction of ruthless ambition, witchcraft, ghosts and deranged somnambulism gave opportunity aplenty to unleash his creativity, while handy political parallels could be drawn between the oppressed existence of the Scots under Macbeth\u2019s rule and that of Verdi\u2019s own Italian homeland.<\/p><h4 class=\"wp-block-heading\" id=\"h-verdi-described-shakespeare-as-above-all-dramatists-the-greeks-not-excepted\">Verdi described Shakespeare as \u2018above all dramatists, the Greeks not excepted\u2019<\/h4><p>Though Shakespeare\u2019s trio of witches is replaced by a three-part chorus in the opera, Verdi was otherwise adamant that the all the elements of the play, as well as its unremittingly dark atmosphere, should be retained. For sheer sense of unease, few moments compare to the disturbed Lady Macbeth\u2019s sleep-walking scene, followed by her <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-aria\">aria<\/a><\/strong> \u2018Una macchia \u00e8 qui tuttora\u2019.<\/p><h3 class=\"wp-block-heading\" id=\"h-macbeth-in-the-concert-hall\"><em>Macbeth<\/em> in the concert hall<\/h3><p>Another <em>Macbeth<\/em> worth investigating is the 1904 opera by the Swiss-American composer <strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/seven-best-works-ernest-bloch\">Ernest Bloch<\/a><\/strong>, whose eerie but bewitchingly atmospheric score will have you wondering why it is performed so rarely today. Beyond that, it\u2019s over to the concert hall for orchestral works by the likes of <a href=\"https:\/\/www.classical-music.com\/features\/composers\/richard-strauss\"><strong>Richard Strauss<\/strong><\/a>, Louis Spohr and <strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/best-gilbert-and-sullivan-operettas\">Arthur Sullivan<\/a><\/strong>.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Inge Borkh - Bloch's Macbeth\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/Wo98iI0QE6k?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><ul><li><a href=\"http:\/\/www.classical-music.com\/blog\/six-best%E2%80%A6-opera-baddies\"><strong>Six of the best opera baddies<\/strong><\/a><\/li><\/ul><p>Strauss\u2019s <em>Macbeth<\/em>, his first ever <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-tone-poem\">tone poem<\/a><\/strong>, does not display the rich imagination of his later symphonic works but is nonetheless suitably edgy and dramatic, while Spohr\u2019s overture to an 1825 production of the play creeps menacingly into life. Sullivan\u2019s 1888 overture, in contrast, packs all the menace of a prance through a daisy-filled meadow\u2026 but is lovely on its own terms.<\/p><p>Macbeth has also inspired orchestral music by Edmund Rubbra, Anton Bantock and <a href=\"https:\/\/www.classical-music.com\/features\/composers\/aram-khachaturian\"><strong>Aram Khachaturian<\/strong><\/a>, though recordings of all three are near-impossible to find. You will, however, have little trouble getting hold of a disc of <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/smetana-bedrich\">Smetana<\/a><\/strong>\u2019s enchanting <em>Macbeth and the Three Witches<\/em> for solo piano, an 1859 work that, full of skittish chromatic runs, has more than a touch of his teacher, Liszt, about it.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Bed\u0159ich Smetana: Macbeth and the Witches (F. Maxi\u00e1n)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/HG65V8SncAU?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/composers\/15-unusual-uses-mozart\/\"><strong>15 unusual uses for Mozart<\/strong><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"othello\">Classical music inspired by Shakespeare: <strong><em>Othello<\/em><\/strong><\/h2><h3 class=\"wp-block-heading\" id=\"h-othello-the-play\"><em>Othello<\/em>: the play<\/h3><p>When Othello, a Moorish knight in the Venetian army, promotes the young Cassio above his standard-bearer Iago, little does he know the demons he is about to unleash. Iago, arguably the most hate-ridden and duplicitous character in all of Shakespeare, hatches a series of plots to have Cassio implicated in an affair with Desdemona, Othello\u2019s wife. <\/p><p>He succeeds, but his \u2018little web\u2019 of deceit has fatal implications for the innocent Desdemona, who is murdered by the enraged Othello, only for Othello to then realise he has been duped. As justice awaits, the title character kills himself.<\/p><h3 class=\"wp-block-heading\" id=\"h-othello-in-music\"><em>Othello<\/em> in music<\/h3><p>It was nearly 35 years after the premiere of his <em>Macbeth<\/em> that Verdi decided to return to Shakespeare. Setting a libretto by Arrigo Boito, <em>Otello<\/em> is one of his most masterful creations \u2013 dramatic, fast-paced and intensely moving. <\/p><p>While some operatic adaptations of Shakespeare take the original play as a rough guide and then elaborate wildly from there, Boito chose to stick very tightly to the Bard \u2013 the opera\u2019s action begins in Cyprus rather than Shakespeare\u2019s Venice, but other than that, the plot and protagonists are all very recognisable.<\/p><h3 class=\"wp-block-heading\" id=\"h-an-italian-speciality\">An Italian speciality<\/h3><p>Much of the brilliance of Verdi\u2019s score lies in the way that he depicts the characters of the main protagonists: the tenor title role is big boned and powerful; Desdemona is a radiantly lyrical <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-soprano\">soprano<\/a><\/strong>; and the baritone part of Iago is sinuous, cagily sinister and disturbingly understated. Interestingly, Boito and Verdi initially intended to call the opera <em>Iago<\/em> \u2013 a fair reflection of his insidious ever-presence.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Verdi's Otello - Act II finale (Jonas Kaufmann and Marco Vratogna, The Royal Opera)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/EB85-ib0OQ0?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p>Unlike Verdi, when <a href=\"http:\/\/www.classical-music.com\/topic\/gioachino-rossini\"><strong>Rossini<\/strong><\/a> wrote his own <em>Otello<\/em> in 1816, he felt no need to stick closely to the script. Transferring the entire action to Venice, he lessens the role of Iago, bigs up the part played by the dissolute Roderigo and only really plays Shakespearean ball in the opera\u2019s third and final act.<\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/article\/six-best-operas-about-roman-leaders\"><strong>Six of the best operas about Roman leaders<\/strong><\/a><\/li><\/ul><p>Crowned by Desdemona\u2019s exquisitely mournful \u2018Assisa a\u2019 pi\u00e8 d\u2019un salice\u2019 aria (the \u2018Willow Song\u2019), that third act in particular shows Rossini at his most inventive and original. For non-operatic takes on Shakespeare\u2019s Moor, meanwhile, try <a href=\"https:\/\/www.classical-music.com\/features\/composers\/antonin-dvorak\"><strong>Dvor\u00e1k<\/strong><\/a>\u2019s <em>Othello<\/em>, a stormy orchestral overture from 1892 or, from the Soviet era, Khachaturian\u2019s <em>Othello<\/em> suite, put together from his score for Sergei Yutkevich\u2019s 1955 film.<\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/works\/verdis-requiem-guide\/\"><strong>A quick guide to Verdi&#8217;s Requiem<\/strong><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"windsor\">Classical music inspired by Shakespeare: <strong><em>The Merry Wives of Windsor<\/em><\/strong><\/h2><h3 class=\"wp-block-heading\" id=\"h-a-guide-to-the-merry-wives-of-windsor\">A guide to <em>The Merry Wives of Windsor<\/em><\/h3><p>Middle-aged, overweight and skint, Sir John Falstaff nonetheless fancies his chances of seducing Mistress Ford and Mistress Page, both of whom happen to be married. Falstaff\u2019s already remote chances are lowered even further when his targets become aware of his intentions and team up to make a fool of him.<\/p><h4 class=\"wp-block-heading\" id=\"h-sir-john-finds-himself-tipped-into-a-river-in-a-basket-of-dirty-laundry\">Sir John finds himself tipped into a river in a basket of dirty laundry<\/h4><p>As he tries to get his wicked way, Sir John finds himself tricked into being tipped into a river in a basket of dirty laundry and then, at his second attempt, into dressing up as Mistress Ford\u2019s dumpy aunt. Final humiliation comes when he is lured into Windsor Forest, only to be assaulted by children dressed as fairies. Thankfully, he eventually sees the funny side, and all ends happily.<\/p><h3 class=\"wp-block-heading\" id=\"h-musical-settings-of-the-merry-wives-of-windsor\">Musical settings of <em>The Merry Wives of Windsor<\/em><\/h3><p>Falstaff\u2019s various antics in <em>The Merry Wives of Windsor<\/em> have proved quite a draw to composers. Not least Verdi, who made him the eponymous hero of his final opera in 1893. Once again he turned to Boito for the libretto, and the collaboration resulted in a work of fast-paced action, charming characterisation and brilliant comic timing \u2013 even if it did leave its first audiences a little befuddled.<\/p><p>As with his previous takes on Shakespeare, Verdi remained largely faithful to the Bard\u2019s plot but, feeling that the central character needed a little more depth than just buffoonery, he and Boito also drew on elements from the other two plays in which Falstaff appears: <em>Henry IV Parts I and II<\/em>.<\/p><p>Thirty years after the premiere of Verdi\u2019s <em>Falstaff<\/em>, Vaughan Williams set to work on <em>Sir John in Love<\/em>, his own take on <em>The Merry Wives<\/em>, and poured into the project all the enthusiasm he had amassed during his spell as the music director at Stratford-upon-Avon.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Bronx Live Bronx Opera Sir John In Love 2 22 17\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/NRIiOS44Z0k?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><ul><li><a href=\"https:\/\/www.classical-music.com\/feature\/world-music\/six-best%E2%80%A6-operatic-demises\"><strong>Six of the best operatic demises<\/strong><\/a><\/li><\/ul><h3 class=\"wp-block-heading\" id=\"h-more-merry-wives-from-vaughan-williams-to-salieri\">More Merry Wives, from Vaughan Williams to Salieri<\/h3><p>It was in that role that he had first composed an adaptation of \u2018Greensleeves\u2019 for productions of <em>The Merry Wives<\/em> and <em>Richard II<\/em>, and the folk tune makes an appearance in <em>Sir John in Love<\/em> too, when it is sung by Mistress Ford. Importantly, <a href=\"https:\/\/www.classical-music.com\/features\/composers\/ralph-vaughan-williams\"><strong>Vaughan Williams<\/strong><\/a> chose to begin and end his opera with the real love interest in <em>The Merry Wives<\/em> \u2013 that between Fenton and Anne \u2013 and gives Falstaff a less boorish, and more melodious, character than Verdi does.<\/p><p>Other opera composers to have found themselves <em>Merry Wives<\/em>-inspired include <a href=\"https:\/\/www.classical-music.com\/features\/composers\/antonio-salieri\"><strong>Salieri<\/strong><\/a>, who dispensed the Fenton-and-Anne subplot entirely for his nimble <em>Falstaff <\/em>of 1799, concentrating his efforts instead on the eponymous hero. For a <em>Falstaff<\/em> from the heart of the bel canto era, meanwhile, try the little-known opera by the Irish composer Michael Balfe, penned in 1838.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Antonio Salieri - Falstaff (1\/2)\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/qS1ed4-ETJI?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/articles\/five-unusual-interpretations-vivaldis-four-seasons\/\"><strong>Five unusual interpretations of Vivaldi&#8217;s Four Seasons<\/strong><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"Henry\">Classical music inspired by Shakespeare: <strong><em>Henry IV, Parts I and II<\/em><\/strong><\/h2><h3 class=\"wp-block-heading\" id=\"h-the-storylines\">The storylines<\/h3><p>Over the course of two plays, King Henry IV of England is at civil war against forces led by the powerful Percy family \u2013 a conflict that reaches a head at the Battle of Shrewsbury at the climax of <em>Henry IV, Part I<\/em>, resulting in victory for the king. Set against this, we also learn of Henry\u2019s frustration at his son Harry \u2013 the future Henry V \u2013 who spends much of his time sharing the company and joining in the various antics of the witty and charismatic, but thoroughly dissolute, Sir John Falstaff. <\/p><p>In Part II, Harry vows to change his ways which, when his father dies and he himself ascends the throne, sees him cruelly rejecting his former friend.<\/p><h3 class=\"wp-block-heading\" id=\"h-the-music\">The music<\/h3><p>As we saw, Verdi\u2019s <em>Falstaff<\/em> was based on the fat knight\u2019s adventures in <em>The Merry Wives of Windsor<\/em> with little bits of <em>Henry IV<\/em> thrown in. By contrast, <a href=\"http:\/\/www.classical-music.com\/topic\/edward-elgar\"><strong>Elgar<\/strong><\/a>\u2019s <em>Falstaff<\/em>, a 30-minute \u2018character study\u2019 for symphony orchestra, takes its inspiration entirely from the latter. <\/p><p>Accordingly, while there is bumbling and buffoonery to enjoy, Elgar\u2019s 1913 work also reflects on Falstaff\u2019s more reflective, and even forlorn, side. This is vividly portrayed high jinks with Harry and a rowdy drinking session in the Boar\u2019s Head contrast with Falstaff\u2019s wistful reminiscences of his younger days and, at the end, the dejection of going to greet his friend as the new king, only to find himself spurned.<\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/articles\/best-classical-drinking-songs\/\"><strong>The best classical drinking songs<\/strong><\/a><\/li><\/ul><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Edward Elgar:Falstaff-szimfonikus tanulm\u00e1ny Op.68\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/GM3qyrnztvw?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p>Unlike Elgar\u2019s work, which follows Falstaff in his adventures up and down the country, <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/gustav-holst\">Gustav Holst<\/a><\/strong>\u2019s 1924 one-act opera <em>At The Boar\u2019s Head<\/em> stays firmly in the pub. Various regulars head in and out of the inn over the course of the opera, indulging in banter and describing what\u2019s happening in the civil war-torn world outside.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/best-of-holst\">The best of Holst: six essential works<\/a><\/strong><\/li><\/ul><h4 class=\"wp-block-heading\" id=\"h-like-most-things-that-take-place-in-pubs-it-s-good-fun\">Like most things that take place in pubs, it\u2019s good fun <\/h4><p>Said regulars include Falstaff and Prince Hal, whose competitive duet \u2013 in which Hal sings Shakepseare\u2019s sonnet \u2018Devouring Time, blunt thou the lion\u2019s paws\u2019 against Falstaff\u2019s earthier rendition of the \u2018When Arthur first in Court began\u2019 ballad \u2013 is one of the highlights. Like most things that take place in pubs, it\u2019s good fun.<\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/articles\/royal-weddings-best-classical-music-choices\/\"><strong>Royal Weddings: The best classical music choices<\/strong><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"Midsummer\">Classical music inspired by Shakespeare: <strong><em>A Midsummer Night\u2019s Dream<\/em><\/strong><\/h2><h3 class=\"wp-block-heading\" id=\"h-the-story-of-a-midsummer-night-s-dream\">The story of <em>A Midsummer Night\u2019s Dream<\/em><\/h3><p>There are several plotlines to follow here: Hermia and Lysander are in love but Hermia\u2019s father wants her to marry Demetrius, whom Helena loves. Meanwhile, Peter Quince and the so-called \u2018mechanicals\u2019 have been tasked with staging the play <em>Pyramus and Thisbe<\/em>. <\/p><p>And at the same time, Oberon, the king of the fairies, and his queen, Titania, are having a tiff, so he convinces Puck to concoct a potion that will make her fall in love with the first thing she sees. But there\u2019s a mix-up and both Lysander and Demetrius become besotted with Helena. Confusion aplenty ensues but it all ends in smiles, with weddings and a performance of the play-within-the-play.<\/p><h3 class=\"wp-block-heading\" id=\"h-musical-midsummer-nights\">Musical Midsummer Nights<\/h3><p>When it comes to Shakespeare\u2019s supreme comedy of magic and mischief, two composers loom large: <a href=\"https:\/\/www.classical-music.com\/topic\/felix-mendelssohn\"><strong>Mendelssohn<\/strong><\/a> and <a href=\"https:\/\/www.classical-music.com\/topic\/benjamin-britten\"><strong>Britten<\/strong><\/a>. In 1826, Mendelssohn was only 17 when he composed his sparkling Overture, described by George Grove as \u2018the greatest marvel of early maturity that the world has ever seen in music\u2019. Four wind chords transport the listener to the forest, before scurrying strings conjure up the fairies with the deft, light music that Mendelssohn made his speciality.<\/p><p>The rest of the incidental music was written years later, in 1842, thanks to a commission by Frederick William IV of Prussia. There are 14 movements, with voices and orchestra; the Wedding March has become perhaps the most famous bit of music by Mendelssohn, while the instrumental <em>Scherzo<\/em>, <em>Intermezzo<\/em> and <em>Notturno<\/em> movements are often heard in concert as standalone pieces. <\/p><h3 class=\"wp-block-heading\" id=\"h-20th-century-dreams\">20th-century <em>Dreams<\/em><\/h3><p>But there\u2019s a dark twist to this piece\u2019s history: the Nazis banned Mendelssohn\u2019s music because he was Jewish. As a result, Carl Orff wrote his own incidental music to <em>Ein Sommernachtstraum<\/em> to replace Mendelssohn\u2019s, revising it in a final version in 1966.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Mendelssohn: Wedding March \/ Abbado \u00b7 Berliner Philharmoniker\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/0Oo4z37OUEI?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p>Six years earlier, in 1960, Britten wrote (pretty quickly) his masterly three-act opera for the opening of Aldeburgh\u2019s refurbished Jubilee Hall. The libretto, by Britten and his partner, the tenor <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/peter-pears\">Peter Pears<\/a><\/strong>, preserves Shakespeare\u2019s original words and keeps almost all of the characters. <\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/benjamin-britten-and-peter-pears\">&#8216;An apparently perfect gay marriage before the concept was invented&#8217;: the richly fruitful partnership of Benjamin Britten and Peter Pears<\/a><\/strong><\/li><\/ul><p>Each of the three groups and stories has its own distinctive soundworld: otherworldly, unsettling <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/what-is-a-harp\">harps<\/a><\/strong>, percussion and keyboards for the Fairies; lusher <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/string-instruments\">strings<\/a><\/strong> and winds for the Royalty; comic brass and lower <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/woodwind-instruments\">woodwind<\/a><\/strong> for the Mechanicals. Oberon\u2019s aria \u2018I know a bank where the wild thyme blows\u2019 gives a taste of the opera\u2019s darker undercurrents as well as a hint of the power that sleep, dreams and spells have in this opera. <\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/the-best-classical-music-for-sleep\">The best classical music for sleep<\/a><\/strong><\/li><\/ul><p>Before Britten, there was Purcell. The English composer wrote his enchanting <em>The Fairy Queen<\/em> in 1692, a \u2018semi-opera\u2019 with instrumental masques to be played between each act of an adaptation of Shakespeare\u2019s play. Other notable <em>Midsummer Night\u2019s Dream<\/em>-inspired music includes <a href=\"https:\/\/www.classical-music.com\/topic\/carl-maria-von-weber\"><strong>Carl Maria von Weber<\/strong><\/a>\u2019s opera <em>Oberon<\/em> (1826), Hans Werner Henze\u2019s Eighth Symphony (1992) and Hans Gefor\u2019s <em>Der Park<\/em> (1922).<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"H. Purcell: \u00abThe Fairy Queen\u00bb Z. 629 [Concentus Musicus Wien \/ Arnold Schoenberg Chor]\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/h50j7WDdHow?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><ul><li><a href=\"https:\/\/www.classical-music.com\/article\/six-great-contemporary-operas\"><strong>Six great contemporary operas<\/strong><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"Tempest\">Classical music inspired by Shakespeare: <strong><em>The Tempest<\/em><\/strong><\/h2><h3 class=\"wp-block-heading\" id=\"h-the-story-of-the-tempest\">The story of <em>The Tempest<\/em><\/h3><p>A ship crashes onto a remote island, where Prospero, his daughter Miranda, the magical spirit Ariel and the strange monster Caliban have lived together for 12 years. On the ship are a variety of characters, including Prospero\u2019s brother, Antonio, who stole the Dukedom of Milan from him, and the young Ferdinand, son of Alonso, who everyone believes has drowned.<\/p><p>Ferdinand has, in fact, washed up on another part of the island, where he meets Miranda, falls in love and eventually marries her. Prospero reveals he caused the ship to be wrecked, and the remainder of the play charts his revenge and regaining of his title as Duke of Milan. Finally, the ship is magically repaired and Caliban left as the island\u2019s sole inhabitant.<\/p><h3 class=\"wp-block-heading\" id=\"h-the-tempest-in-music\"><em>The Tempest <\/em>in music<\/h3><p>No shortage of musical settings here, although the only opera of note with the title <em>The Tempest<\/em> is Thomas Ad\u00e8s\u2019s 2004 dramatic masterpiece, whose libretto condenses Shakespeare\u2019s play into modern English and rhyming couplets. Perhaps the best known setting is Sibelius\u2019s incidental music to a Danish-language theatrical production, with 35 snatches of music ranging from the eerie opening to the charming Dance of the Nymphs and exquisite music for Miranda.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Thomas Ad\u00e8s: Overture to &quot;The Tempest&quot;, op. 22a\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/Yyud1KJBBWg?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p>Written in 1925, <em>The Tempest<\/em> was Sibelius\u2019s penultimate work, and it was an eternal source of regret to him that he never had the chance to develop some of the ideas explored in many of the briefest of passages. <\/p><h3 class=\"wp-block-heading\" id=\"h-tchaikovsky-and-beyond\">Tchaikovsky and beyond<\/h3><p>Tchaikovsky also had a stab, writing his <em>Tempest Fantasy Overture<\/em> in just a fortnight during the summer of 1873. \u2018In those two weeks,\u2019 he remembered, \u2018I wrote the draft of <em>The Tempest<\/em> without any effort, as though moved by some supernatural force.\u2019 Like his treatment of <em>Hamlet<\/em>, the piece only touches on crucial events, here being the initial storm and shipwreck, the monstrous Caliban and the love between Ferdinand and Miranda.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Sibelius: The Tempest (Suites Nos. 1 &amp; 2), Op. 109 (Segerstam, Helsingin kaupunginorkesteri)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/D4EsO47POQw?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/articles\/six-best-string-quartets-about-life-and-death\/\"><strong>Six of the best string quartets about life and death<\/strong><\/a><\/li><\/ul><p>There are other settings. Arthur Sullivan\u2019s 1861 incidental music \u2013 his first major work \u2013 pays homage to <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/robert-schumann\">Schumann<\/a><\/strong> and Mendelssohn, but falls short of their quality. Berlioz fares rather better with the dramatic \u2018Fantasy on Shakespeare\u2019s \u201cThe Tempest\u201d\u2019, which is the final movement of his <em>L\u00e9lio<\/em> suite for narrator, soloists, choir and orchestra \u2013 this, incidentally, is the first time a piano had been used as an orchestral instrument.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Arthur Sullivan : The Tempest, Suite from the incidental music (1861 rev. 1862)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/Q3x84kju_hc?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p>Add to these Purcell\u2019s setting (since thought to have written by John Weldon in 1712), <strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/malcolm-arnold-the-best-recordings\">Malcolm Arnold<\/a><\/strong>\u2019s <em>Three Songs From The Tempest<\/em> for unison voices and piano, William Alwyn\u2019s 1952 symphonic prelude <em>The Magic Island<\/em> and Arthur Bliss\u2019s 1921 <em>The Tempest<\/em> for voice and ensemble. Vaughan Williams\u2019s surprisingly modern-sounding 1951 <em>Three Shakespeare Songs<\/em> for unaccompanied choir are terrifically atmospheric, and include Ariel\u2019s song \u2018Full Fathom Five\u2019 and \u2018The Cloud-capp\u2019d Towers\u2019 from the final act.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"DR VokalEnsemblet med Three Shakespeare Songs af Vaughan Williams\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/B8ViwS73X08?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/articles\/six-best-bagpipe-tunes\/\"><strong>Six of the best bagpipe tunes<\/strong><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"MuchAdo\">Classical music inspired by Shakespeare: <em><strong>Much Ado About Nothing<\/strong><\/em><\/h2><h3 class=\"wp-block-heading\" id=\"h-what-s-the-story-of-much-ado-about-nothing\">What&#8217;s the story of <em>Much Ado About Nothing<\/em>?<\/h3><p>Don Pedro pays a visit to Leonato with his officers, including Claudio \u2013 who becomes engaged to Leonato\u2019s daughter Hero \u2013 and Benedick, who enjoys winding up Hero\u2019s cousin Beatrice (in fact, they are secretly in love). Alas, the evil Don John plots to cause havoc by fooling Claudio into believing that his beloved is unfaithful.<\/p><p>At their wedding, Claudio denounces Hero, the shock of which appears to kill her. Don John\u2019s deception soon becomes known and, to atone for his accusations, the grieving Claudio is persuaded to marry Hero\u2019s cousin\u2026 who, hurrah, turns out to be Hero herself. They wed, as do Benedick and Beatrice.<\/p><h3 class=\"wp-block-heading\" id=\"h-much-ado-in-music\"><em>Much Ado <\/em>in music<\/h3><p>Not really an opera as such, Berlioz\u2019s last large-scale work, his 1862 \u2018divertissement\u2019 <em>B\u00e9atrice et B\u00e9n\u00e9dict,<\/em> is a simplified setting of <em>Much Ado<\/em>, a series of tableaux connected by spoken dialogue. In terms of narrative flow, it\u2019s not the most rewarding but Berlioz\u2019s music is brilliant. The sunny, Italianate overture is one of the French composer\u2019s more imaginative and subtle inventions and some of his arias are heart-melting, including the extraordinary end to Act I, a gorgeous duet between H\u00e9ro and Ursule.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/best-french-composers-ever\">The 25 greatest <strong>French <\/strong>composers of all time<\/a><\/strong><\/li><\/ul><p>Written 60 years later, <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/erich-wolfgang-korngold\">Erich Wolfgang Korngold<\/a><\/strong>\u2019s extensive and lush incidental music, written for a 1920 Viennese production of <em>Much Ado<\/em>, was an instant hit. It\u2019s full of great tunes, although Korngold\u2019s attempt to conjure up 16th-century Sicily is a touch clumsy. <\/p><p>Those after a more regal approach to proceedings might like to try Edward German\u2019s incidental music to an 1898 Herbert Beerbohm Tree production \u2013 it\u2019s full of totally un-Sicilian pomp, as if Shakespeare set the whole play in the Cotswolds, but it\u2019s deliciously irresistible. In a very similar mould, give the soupy <em>Overture to Much Ado about Nothing<\/em> by Alfred Reynolds (1884-1969) a spin.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Erich Wolfgang Korngold : Much Ado About Nothing, Selections from the Incidental Music Op. 11 (1919)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/1_6q1xEa3Ys?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><ul><li><a href=\"https:\/\/www.classical-music.com\/article\/six-of-the-best-great-works-with-chorales\"><strong>Six of the best great works with chorales in them<\/strong><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"Lear\">Classical music inspired by Shakespeare:<strong><em> King Lear<\/em><\/strong><\/h2><h3 class=\"wp-block-heading\" id=\"h-the-story-of-king-lear\">The story of <em>King Lear<\/em><\/h3><p>King Lear decides to divide his realm between his three daughters depending on how much they love him. Goneril and Regan flatter Lear, but Cordelia\u2019s plain speech angers him. He disinherits Cordelia, and splits his kingdom between the other two. They mistreat Lear and drive him mad. Edmund reveals that Cordelia is invading with the French army.<\/p><p>Regan and Goneril defeat the French and order the execution of Lear and Cordelia. Goneril poisons Regan so she cannot marry Edmund, who they both desire. When Edmund is killed, Goneril commits suicide. Lear escapes execution, but Cordelia does not. Overwhelmed by madness and grief, he dies.<\/p><h3 class=\"wp-block-heading\" id=\"h-king-lear-in-music\"><em>King Lear<\/em> in music<\/h3><p>Even Verdi was daunted at the prospect of adapting <em>Lear<\/em> for the stage: \u2018Lear is so tremendous, so intricate, that it would seem impossible to make an opera of it.\u2019 He struggled with a libretto for 40 years with no success. Three more recent operatic attempts have made it to the stage. German composer Aribert Reimann produced an intense, uncomfortable, and often all-out ugly <em>Lear<\/em> at the suggestion of baritone Dietrich Fischer-Dieskau.<\/p><p>Finnish composer Aulis Sallinen\u2019s <em>Kuningas Lear <\/em>is a comparatively easy, if less striking, listen, with music more influenced by <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/modest-musorgsky\">Mussorgsky<\/a><\/strong> than <a href=\"https:\/\/www.classical-music.com\/topic\/alban-berg\"><strong>Alban Berg<\/strong><\/a>. The most effective, and remarkably hummable, of the three Lear operas is surely by Brit Alexander Goehr, who was at a self-described \u2018Lear-like\u2019 stage of life when he dreamt up his opera <em>Promised End. <\/em>His take focuses on the relationship between Lear and Gloucester, the \u2018old men who get it wrong when they have power and influence\u2019.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Aulis Sallinen: A Solemn Overture (King Lear) (1997)\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/ymzKs33Lt9g?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p>Another major source of <em>Lear<\/em> works is incidental music. <a href=\"https:\/\/www.classical-music.com\/features\/composers\/claude-debussy\"><strong>Debussy<\/strong><\/a> had the same bug as Verdi, and only finished two movements of his 1904 <em>Le roi Lear: <\/em>the Fanfare-Overture and the mysterious \u2018Le sommeil de Lear\u2019 (Lear\u2019s dream). <\/p><h4 class=\"wp-block-heading\" id=\"h-parallels-were-drawn-between-russia-and-lear-s-inwardly-collapsing-kingdom\">Parallels were drawn between Russia and Lear\u2019s inwardly collapsing kingdom<\/h4><p>Russian composer and &#8216;<strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/mighty-handful-five-composers\">Mighty Handful<\/a><\/strong>&#8216; member <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/mily-balakirev\">Mily Balakirev<\/a><\/strong> wrote his somewhat bombastic and nationalistic incidental music at the age of just 22, including an overture that is often performed separately. Shostakovich\u2019s incidental music was written in the run up to Germany\u2019s invasion of Russia \u2013 leading to many parallels being drawn between Russia, and Lear\u2019s inwardly collapsing kingdom.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Debussy - Musiques pour &quot;Le Roi Lear&quot;\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/qQDk6EtvTAU?start=1&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><ul><li><a href=\"https:\/\/www.classical-music.com\/article\/six-best-musical-child-prodigies\"><strong>Six of the best musical child prodigies<\/strong><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"Merchant\">Classical music inspired by Shakespeare: <strong><em>The Merchant of Venice<\/em><\/strong><\/h2><h3 class=\"wp-block-heading\" id=\"h-the-story-of-the-merchant-of-venice\">The story of <em>The Merchant of Venice<\/em><\/h3><p>Needing funds to court Portia, Bassanio is persuaded by his friend Antonio to get a loan from Shylock, a Jewish money lender, with Antonio himself as guarantor. Shylock agrees, but only on the condition that he is entitled to a \u2018pound of flesh\u2019 from Antonio if Bassanio defaults on the payments. To cut a long, and complex, story short, Bassanio succeeds in winning the hand of Portia.<\/p><p>However, when it is reported that Antonio\u2019s ships have been lost at sea and he cannot fulfill his obligation to Shylock, the latter demands his side of the bargain. When a hearing is called in front of the duke, Portia herself saves the day by disguising herself as a legal expert and turning the tables on Shylock \u2013 found guilty of conspiring against a Venetian citizen, he is ordered to hand over his property.<\/p><h3 class=\"wp-block-heading\" id=\"h-the-merchant-of-venice-in-music\"><em>The Merchant of Venice<\/em> in music<\/h3><p>In Act V of <em>The Merchant of Venice<\/em>, Lorenzo, a friend of Antonio and Bassanio, declares his love to Jessica, Shylock\u2019s daughter, under the moonlight. \u2018How sweet the moonlight sleeps upon this bank!\u2019 he begins. \u2018Here will we sit and let the sounds of music Creep in our ears: soft stillness and the night Become the touches of sweet harmony.\u2019<\/p><p>The monologue that follows provides \u2013 with one or two judicious cuts and repetitions \u2013 the words for Vaughan Williams\u2019s <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/a-guide-to-vaughan-williamss-serenade-to-music-and-its-best-recordings\">Serenade to Music<\/a><\/strong>, <\/em>a work written in 1938 by the English composer to celebrate the 50th anniversary of <strong><a href=\"https:\/\/www.classical-music.com\/articles\/who-was-sir-henry-wood\">Henry Wood<\/a>\u2019<\/strong>s first concert at the <strong><a href=\"https:\/\/www.classical-music.com\/bbc-proms\/\">Proms<\/a><\/strong>. Scored for 16 vocal soloists and orchestra, it is a gloriously atmospheric wallow, with the amorous scene set firstly by a rhapsodic violin solo and then rippling orchestral accompaniment. Vaughan Williams did, incidentally, also write a similarly lovely version for orchestra only, but that rather misses the point.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/bbc-proms\/2024-bbc-proms-listings\">BBC Proms 2024: your guide to every concert, every performer, and how to listen<\/a><\/strong><\/li><\/ul><p>The romance between Lorenzo and Jessica is also the subject of Sullivan\u2019s <em>Merchant of Venice<\/em> incidental music \u2013 initially written for a production in 1871 \u2013 though in this instance it\u2019s the jolly masque that accompanies their elopement in Act 2 that we hear. Bustling and bubbly, it\u2019s arguably Sullivan\u2019s most successful take on the Bard. <\/p><p>Try out, too, <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/hahn-reynaldo\">Reynaldo Hahn<\/a><\/strong>\u2019s 1935 opera <em>Le Marchand de Venise<\/em> \u2013 very French-sounding, including a smoky <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/saxophone\">saxophone<\/a><\/strong> solo in its opening bars \u2013 or Faur\u00e9\u2019s sumptuous orchestral <em>Shylock<\/em> suite, written for a Shakespeare-inspired play by Edmond Haraucourt in 1889.<\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Published: Wednesday, 28 August 2024 at 05:50 AM Classical music inspired by Shakespeare? Now, this is going to be fun. It is thanks to Shakespeare that we have one of the most famous ever quotes about music. As Twelfth Night opens, Duke Orsino speaks the words that are familiar to millions of us: \u2018If [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":46995,"template":"","categories":[1,17],"acf":{"readingTimeMinutes":"24"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/08\/these-11-shakespeare-plays-have-inspired-some-of-the-greatest-music-ever-written.jpg",1200,800,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/08\/these-11-shakespeare-plays-have-inspired-some-of-the-greatest-music-ever-written-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/08\/these-11-shakespeare-plays-have-inspired-some-of-the-greatest-music-ever-written-300x200.jpg",300,200,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/08\/these-11-shakespeare-plays-have-inspired-some-of-the-greatest-music-ever-written-768x512.jpg",768,512,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/08\/these-11-shakespeare-plays-have-inspired-some-of-the-greatest-music-ever-written-1024x683.jpg",800,534,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/08\/these-11-shakespeare-plays-have-inspired-some-of-the-greatest-music-ever-written.jpg",1200,800,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/08\/these-11-shakespeare-plays-have-inspired-some-of-the-greatest-music-ever-written.jpg",1200,800,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Published: Wednesday, 28 August 2024 at 05:50 AM Classical music inspired by Shakespeare? Now, this is going to be fun. It is thanks to Shakespeare that we have one of the most famous ever quotes about music. As Twelfth Night opens, Duke Orsino speaks the words that are familiar to millions of us: \u2018If&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/46994"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/46995"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=46994"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=46994"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}